CA

RPE

NTR

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01“There i s some t h i ng beau t i f u l abou t reve r s i ng t he p roce s s o f mak ing . O fundo ing some t h i ng , o f t ak i ng i t apar t . O f re t u r n i ng t he ob jec t t o wha t i twas o r i g i na l l y made o f . And ye t on re t u r n i ng i t t o t he ‘wood’, one maybe l e f t w i t h t he l i t t l e a r ms , remnan t s o f t he ob jec t f o r wh i c h t he re i s nou se ; a k i nd o f s u r p l u s . I do no t mean t he k i nd t ha t b r i ng s p ro f i t ; t h i s i sno t t he ‘su r p l u s va l ue’ o f cap i t a l i s t exc hange . I t i s ra t he r t ha t wh i c hso r t o f e s capes t he con t rac t o f exc hange .” Be t t i na Ma l comes s MoCA

MoCA

DOUGL AS G IMBERG & C HR IS T IAN NERF

C ARPENTRY 101

A COMPANION TO THE EXH IB I T ION

C ARPENTRY 101, B L ANK PROJECTS

MoC A , C APE TOWN , 2007

Ded i ca t ed t o Max Wo lpewho po in t ed ou t t o u s t ha t some peop le c l a im

to be ca r pen t e r s bu t a re me re l y j o i ne r s

Ded i ca t ed t o Max Wo lpewho po in t ed ou t t o u s t ha t some peop le c l a im

to be ca r pen t e r s bu t a re me re l y j o i ne r s

Pub l i s hed by MoC A

© The a r t i s t s , con t r i bu t e r s & MoC A , Cape Town

Pho to c red i t s : Jake Dobk i n , Gove r nmen t Commun i ca t i on andin f o r ma t i on Sy s t em , D r Nuno Sac ramen to and Robe r t S loon

Museum o f Con t em pora r y A r t (MoC A)Sou t h A f r i ca

PO Box 44699C la remon t7 735Cape Town

museumo f con t em pora r ya r t@gma i l . com

Repro & p r i n t i ng by S t ud io 2666

The pub l i s he r, ed i t o r and a r t i s t s w i s h t o t hank con t r i bu t o r s f o r t he i r k i ndpe r m i s s i on t o rep roduce ma t e r i a l , and f o r t he i r he lp i n t he p roduc t i on o f t h i spub l i ca t i on . The pub l i s he r apo log i se s f o r any e r ro r s o r om i s s i on s i n t h i spub l i ca t ion , and wou ld be gra te fu l to be no t i f ied o f any cor rec t ions t ha t shou ldbe i n co r po ra t ed i n t he nex t ed i t i on o r rep r i n t o f t h i s book .

© Sans -Copy r igh t f o r non - commerc ia l u se . Th i s book may be rep roduced o ru t i l i s ed i n any f o r m o r by any means , e l e c t ron i c o r mec han i ca l , i n c l ud i ngpho tocopy ing , re co rd i ng o r by any i n f o r ma t i on s t o rage o r re t r i eva l s y s t emw i t h pe r m i s s i on i n w r i t i ng f rom Museum o f Con t em pora r y A r t .

F i r s t Ed i t i on pub l i s hed Augus t 2007

Ava i l ab l e i n 38 numbered ed i t i on s

Concep tua l i s ed and re sea rc hed by G imberg & Ner f

Re sea rc h a s s i s t ance by Sebas t i an Cha r i l aou

Copy ed i t ed by G i l l G imbe rg

ISBN: 978 -0 -620 -39272 -3

CONTENTS

ROBERT S LOONThe Dream Of Jaco And Wendy

BETT INA MALCOMESSCan The Dar k Wood Speak?

B IANC A BALD IHe ro’s We l come Fo r Madonna

DR. NUNO SACRAMENTOFree Car pen t r y

DAN HALTERHe l t e r Ske l t e r, 99 P rob lems ( s ke t c h )

ED YOUNGDon’t Be A f ra id , I t’s On l y F i c t i on

JOHAN KR I TZ INGERAnarc hy Fo r P rac t i c e

ANDREW L AMPREC HTThe S t r i f e O f Love I n A Dream

C HR IS T IAN NERFWe Are A l l Unde r Su sp i c i on

L IZZA L I T T LEWORTCommun ion

DOUGL AS G IMBERGGod’s Ye l l ow Pages

RONALD SURESH ROBERTSNo te s Fo r Launc h Speec h

B IANC A BALD IP i c co lo Grande Amore ( s ke t c h )

N IC K C AV E & THE BAD SEEDSEp i l ogue

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51

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61

65

67

71

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The D ream o f Jaco and Wendy

Bu l l s h i t

When I a t t ended s c hoo l , a t a m i se rab le l i t t l e s c hoo l i na m i se rab le suburb , r ugby was banned by t he p r inc ipa l .Soccer and c r i c ke t were t he gen t leman ' s games . Hav inggrown up s l i gh t l y l e s s t han gen t l e , my con t i nued lac k o fknow ledge abou t t he spor t has been a source o f shame.Recen t l y, t o pu t ma t t e r s r i gh t , I go t a f r i end o f m ine t oexp la i n t he r u l e s and cu s t oms (wha t i t means t o knoc k -on , why i t ' s no t homosexua l t o f unne l ) , and have s i n cebeen t en t a t i ve l y f o l l ow ing games when I go f o r myregu la r a t t he K imbe r l y Ho t e l . I even go t t o t he po i n twhere I unders tood t he s ign i f i cance o f t he Super 14 f ina lbe tween t he Bu l l s and t he Sha r k s . And , j e su s was i t ad rama t i c ma t c h , w i t h B r i an Habana swa l l ow -d i v i ng t oscore a t r y a f t e r t he f i na l hoo te r, s c rap ing a w in f o r t heou tp layed Bu l l s . Howeve r, my new - f ound en joymen t o fr ugby l a s t ed a l l o f 30 seconds a f t e r t he conve r s i on .F l yha l f Jaco Van Der Wes t huyzen, in a move t ha t annoysme even now, took o f f h i s B lue Bu l l s je r sey, and revea leda wh i t e s h i r t unde r nea t h w i t h t he word s ' J e su s i s K i ng 'emb lazoned on t he f ron t and ' Bu l l s f o r J e su s ' on t hebac k .

Base l e s s

A coup le o f week s ago I had a r un o f bad l u c k , t heno r ma l so r t o f t h i ng : ge t t i ng mugged , de layed f l i gh t s ,l o s t i n Jo 'bu rg , unc l e dy i ng , f i gh t i ng w i t h g i r l f r i end , aco l l ap sed ce i l i ng i n my s t ud io de s t roy i ng a l l my book s .However, t he re i s one i n c iden t f rom t h i s t ime t ha t s t i c k sin my mind. I a t tended the funeral of t he above-ment ionedunc le , up in a miserab le suburb near Bedfordv iew, wherea l l t he s t ree t s a re named a f t e r heaven l y bod ie s .

15

lo t s o f people c ross . Ver y c ross . Because what Gimbergand Ner f and a l l t he co l labora to r s a re do ing a re t ak inga b i t o f damn re spons ib i l i t y.

V i va F ree Car pen t r y.

Robe r t S loon

14

I t doe s l i t t l e , howeve r, t o up l i f t t he t one o f t heneighborhood. The day af ter t he memor ia l ser v ice (whichwas he ld i n one t he se new wave c hu rc he s , w i t h a youngpr i e s t who t o ld u s , i napp rop r ia t e l y, t ha t some o f u s i nt he c hurc h mus t repen t our w ic ked ways) , my aun t Wendyhad t o r u sh bac k t o he r pa s t o r hu sband i n Cape Townju s t a f t e r b reak f a s t . She i n t e r r up t ed ou r mea l t oi nd i v i dua l l y p ray f o r eac h pe r son a t t he t ab l e , handlov ing ly on t he shou lder. I p layed wi t h my eggs , growings low l y co ld , wa i t i ng my t u r n . My pe r sona l i s ed l i t anywen t some t h i ng l i ke t h i s , "Oh Je su s , p l ea se wa t c h ove rRober t , I know, oh Je su s , t ha t he may seem a cyn i c , anda s kep t i c , Lo rd , bu t i t i s becau se he ha s expe r i enced somuc h i n h i s l i f e w i t hou t you a s a base . "

Hans i e

Sou t h A f r i can c r i c ke t i ng s ymbo l Hans i e C ron j e t h rewma t c he s f o r a ce l l - phone and a sh i ny l ea t he r j a c ke t ,p rov ided by some I nd ian book i e s . Hans i e b lamed h i smisdemeanors on t he dev i l . He t hen went and go t "k i l led"( i n a p lane f u l l o f pa s spo r t s , s u sp i c i ou s l y ) .Hans ie ' s den ia l o f gu i l t i l l uminates t he main po in t o f t hesetwo s tor ies . That i s , bes ides a no -ho lds -bar red evangel i smspread ing amongs t Chr i s t i ans , pe rpe tua ted , I a s sume, bya g row ing f ea r o f im pend ing apoca l yp t i c dea t h ,Chr i s t ian i t y has become a good way o f pass ing t he buc k .By a l l ow ing a man s t u c k t o a s ymbo l t o t ake c red i t f o rw inn i ng a ma t c h o r f o r a ce r t a i n d i sappo in tmen t i nroman t i c i sm means , f u r t he r a long t he l i ne , we can g i veup our respons ib i l i ty for a l l our ac t ions . And t ha t i s whenwe a re ready t o be l ed , t o god knows wha t end . Theway t h i ng s a re go i ng i t ' l l be v i c i ou s , neo - co lon ia l andb loody.

I rea l l y hope t ha t t h i s p ro jec t Carpen t r y 101, i s n ' t go ingto be j u s t p reac h i ng t o t he conve r t ed , I hope i t make s

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Can t he Dar k Wood Speak?

The S t o r y

Dante f i nds t ha t he has s t rayed f rom t he r igh t road andi s l o s t i n a Dar k Wood . He t r i e s t o e s cape by c l imb inga beau t i f u l Moun t a i n , bu t i s t u r ned a s ide , f i r s t by agambo l l i ng Leopard , t hen by a f i e r ce L i on , and f i na l l yby a ra venous She -Wo l f . A s he i s f l ee i ng bac k i n t o t hewood , he i s s t opped by t he shade o f V i rg i l … t he on l ycou r se a t p re sen t l e f t open t o Dan t e i s t o t r u s t h imse l ft o V i rg i l , who w i l l gu ide h im by a l onge r way, l ead ingt h rough He l l and Pu rga t o r y.’

Can t o I : I n f e r no , Comed ia D i v i na

Midway t h i s way o f l i f e we’re bound upon ,I woke t o f i nd myse l f i n a da r k wood ,Where t he r i gh t road was who l l y l o s t and gone .

Wal t e r Ben jam in , [N 1,4 ] [On t he t heor y o f know ledge ,Theo r y o f P rog re s s ]

To cu l t i va t e f i e ld s whe re , un t i l now, on l y madnes s ha sre igned . Fo rge ahead w i t h t he whe t t ed axe o f rea son ,l ook i ng ne i t he r r i gh t no r l e f t so a s no t t o s u c cumb t othe hor ror that beckons f rom deep in the pr imeval fores t .Ever y ground mus t a t some poin t have been made arableby rea son , mus t ha ve been c l ea red o f t he unde rg row t ho f de l u s i on and my t h… '

En l i gh t ened ve r su s Da r k Wood

Here Ben jam in was a l l ud i ng t o t he t e r ra i n o f t hen i ne t een t h cen t u r y. H i s arcades p ro j e c t was an a t t emp t

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t o a rc h i ve wha t rema ined o f t he ‘dar k wood’, e ra sed t omake way f o r t he cu l t i va t ed f i e l d s o f p rog re s s .

The da r k wood , t he p r imeva l f o re s t , appear s t o be aper vas ive t rope . I t recur s i n f a i r y ta les , my t hs , f i c t ion andph i lo sophy. One neve r ven tu re s i n t o t he dar k wood , i t i st he dwel l ing p lace of wolves , bears , demons, and myth ica lc rea t u re s s u c h a s d ragons , t ro l l s and En t s . I t i s at reac herous zone t ha t adven tu re r s , f rom U l y s se s t o L i t t l eRed R id i ng Hood t o poo r I c habod C rane w i l l have t oc ros s , a t t he r i s k o f doppe lganger g randmother s , wo l ves ,s i r en s and head le s s ho r semen . Occas iona l l y t he da r kwood recu r s i n t he con t em pora r y, mos t l y i n t he c l i c hé so f t he ho r ro r gen re : t he cam p ing t r i p gone awr y, t heB la i r w i t c h . In each case , i t i s t he dwe l l i ng -p lace o f t hosef ea r s o f t he i r ra t i ona l , t he unknown f o rce s o f da r kne s sand na tu re . Fo r Dan t e i t ma r k s t he en t r y po i n t t o He l land pu rga to r y, an ea r l y Renna i s sance re con s t r u c t i on o ft he My t h i ca l Unde r wor ld o f Hades , w i t h i n t he con f i ne so f a Ch r i s t i an He l l .

Fo r Ben jam in , i t i s t he ‘pr imeva l f o re s t’, con ta in ing deepwi th in i t t he hor ror of madness , of unreason. Ye t , Benjamini s ce r t a i n l y no t a ph i l o sophe r a f ra id o f t he da r k . I t i s ,ra t he r, t he as sump t ions o f en l igh t enmen t and ra t iona l i t y,and perhaps t he whe t t ed axe o f reason t ha t he warns o f .I t i s Ben jam in who a sk s t he que s t i on s ph i l o sophy wasmos t a f ra id to ask , by fo l lowing U lysses , L i t t l e Red R id ingHood, I c habod Crane and Dan te in to t he dark wood. Andwha t he f ea r s a re t he l eve l p lana r f i e l d s o f p rog re s s .

A t t he edge

The da r k wood was once a l i t e ra l p lace o f f ea r, o r a tl ea s t l e s s t han imag ina r y. As s u c h , wha t i s ou r Moder nequ i va l en t o f t he da r k wood? Where do we l o ca t e ou r

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demons , ou r ghos t s and i r ra t i ona l f ea r s ? M igh t i t beapprop r ia t e t o s end l i t t l e Hanse l and Gre t e l wa l k i ngt h rough H i l l b row, a t n igh t , o r Go ld i loc k s , w i t h he r pos t -a r i s t oc ra t i c sense o f en t i t l emen t i n to t he pe t i t Bourgou i shomes of B laauwberg or Be l l v i l le? Or L i t t le Red equ ippedwi t h a copy o f t he Commun i s t Man i f es to (and a new pa i ro f p re s c r i p t i on eye -g la s se s ) amongs t t he wo l ve s o fconsumer cu l t u re t ha t l u r k i n t he over l y l i t spaces o f t hema l l ? What do we f ear mos t now? Perhaps t he wood hasbecome t he c rowd, t he mass , so much t he same, o f wh ic hwe a re me re l y ano t he r s t a t i s t i c . We f ea r t he end le s sun i f o r m i t y ; i t t h rea t en s ou r s en se o f s e l f . Ye t anyonewho has f e l t t he s t reng t h o f t he c rowd , knows t ha t t h i si s t he ve r y sou rce o f t he i nd i v idua l’s power. The massesa re t he sap l i ng s , so t o speak , o f Moder n i t y anddemoc ra t i c revo l u t i on . Pe r haps , w i t h mas s med ia andcommun ica t ions , t hey have grown in to some t h ing we areno t ye t ab l e t o re cogn i ze , some t h i ng muc h moreconnec t ed .

The le t ters of Helen Mar ia Wi l l iams, wi tness to t he FrenchRevo l u t i on , t u r n f rom e la t i on t o s ub l ime ho r ro r

Le t t e r I I‘The peop le , s u re , t he peop le we re t he s i gh t !’

Le t t e r XXV I… ' To me t he l and wh i c h t he se m igh t y mag i c i an s havesudden l y cove red w i t h da r kne s s , whe re weav i ng t he i rev i l wand , t hey have rea red t he d i sma l s ca f f o ld , havec lo t t ed t he kn i f e o f t he a s sa s s i n w i t h go re , have ca l l edfo r t h t he sh r i ek o f despa i r, and t he agony o f t o r t u re ; t ome , t h i s l and o f de so la t i on had once appeared d re s sedin add i t iona l beau ty benea t h t he gen ia l sm i le o f l i be r ty.The woods seemed t o ca s t a more re f re sh i ng shade… '

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How t he Tab le Tu r n s

Mar x beg in s h i s d i s cu s s i on o f t he commod i t y i n ‘DasKap i t a l’ w i t h wha t i s pe r haps h i s mos t poe t i c ana logy :

I t i s c l ea r a s t he noon -day t ha t man , by h i s i ndu s t r y ,c hanges t he f o rms o f t he ma t e r ia l s f u r n i s hed by na tu re ,i n s u c h a way a s t o make t hem u se fu l t o h im . The f o rmo f wood , f o r i n s t ance , i s a l t e red , by mak ing a t ab le ou to f i t . Ye t , f o r a l l t ha t , t he t ab le con t i nue s t o be t ha tcommon, eve r y -day t h i ng , wood. Bu t , a s soon as i t s t epsf o r t h a s a commod i t y , i t i s c hanged i n t o some t h i ngt ran s cenden t . I t no t on l y s t ands w i t h i t s f ee t on t heground, bu t in re la t ion to a l l o ther commodi t ies , i t s t andson i t s head , and evo l ve s ou t o f i t s wooden b ra i ngro t esque ideas , f a r more wonder fu l t han ‘tab le - t u rn ing’eve r was .

Mar x , ‘The Fe t i s h i sm o f Commod i t i e s and The Sec re tThe reo f’ i n Das Kap i t a l

I t s t r i ke s me t ha t t he conve r s ion o f t he da r k wood i n t o ause fu l ob jec t suc h as a t ab le i s ano t he r pos s ib le f unc t iono f t he whe t t ed axe o f reason . One cou ld , s im i la r l y, makeou t o f t he p r imeva l f o re s t a s ca f f o ld , pe r haps even ac ro s s . Fo r Mar x , t he t ab l e t ran s cends t he wood o f t het ree, t he s tu f f o f t he fores t , when i t becomes a commodi ty,i .e . when i t i s exchanged. I t s va lue i s no longer dependenton i t s u se fu lnes s ; how f la t i t i s , how h igh i t s i t s , t he gra ino f t he wood , no l onge r ma t t e r i n re la t i on t o wha t i t i su sed fo r : wr i t i ng , ho ld ing up lamps , t he p lac ing o f gues t sa t d i nne r. I t s exc hange va l ue a l so ha s l i t t l e t o do w i t ht he amoun t o f l abou r t ha t wen t i n t o mak i ng i t . T h i s i se spec ia l l y t r ue o f t ab l e s mas s - p roduced mere l y f o r t hepu r pose o f exc hange . The se may no t even be made o fwood ! As commod i t y, t he t ab l e becomes an ob jec t w i t hi t s own l i f e , whose va l ue seems t o have no t h i ng t o do

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wi t h t he ac t ua l soc ia l re la t i on s t ha t p roduce i t . T hu s , i ti s l i ke a re l i g i ou s f e t i s h , a mag i ca l ob j e c t w i t h i t s ownpower. A r t i s po s s i b l y t op o f t h i s l i s t o f f e t i s he s . I t i st he be s t exam p le o f t ha t wh i c h we de s i re f o r t he ve r yfac t t ha t i t i s u se les s . I t s va lue inc reases propor t iona te lyt o i t s be i ng de s i red .

Cap i t a l i sm , Modern i t y and p rogres s a re a l l b ranc hes , i fyou l i ke , o f t he whe t t ed axe o f rea son . And ye t , t hecommod i t y s eems t o be ye t ano t he r mag i ca l f o re s tc rea t u re , some t h i ng t ha t be longs a s muc h t o t he ve r yda r k o f t he wood , a s does t he hand le o f t he axe u sedto cu t i t down .

Ve r y Dar k Wood

In t he seven t h c i r c l e o f He l l , Dan t e and V i rg i l en t e r t heWood o f t he Su i c i de s . Th i s i s t he p lace re se r ved f o rt hose who have done v io lence t o t he i r own per sons andt ho se who have v io l en t l y con sumed t he i r goods . Odd ,t h i s comb ina t i on o f s e l f - ha r m and v io l en t con sum p t i on .Dan t e reac he s ou t and b reak s o f f a b ranc h o f one o ft he t ree s , t ha t c r i e s ou t : ‘Why p l u c k’s t t houghme?’(Dan t e , Can to X I I I : 31 ) And so t he poo r, ho r r i f i edDan t e rea l i s e s t ha t t he t ree s t hemse l ve s con t a i nim pr i soned sp i r i t s , t he i r sou l s t i ed w i t h i n t he gna r l edjo i n t s once t hey’d dec ided t o l eave t he i r own bod ie s .

Su r p l u s

There i s some t h ing beau t i f u l abou t rever s ing t he processo f mak ing . Of undo ing some t h ing , o f t ak ing i t apar t . Ofre t u r n i ng t he ob jec t t o wha t i t was o r i g i na l l y made o f .And ye t on re t u r n i ng i t t o t he ‘wood’, one may be l e f tw i t h t he l i t t l e a r ms , remnan t s o f t he ob jec t f o r wh i c ht he re i s no u se ; a k i nd o f s u r p l u s . I do no t mean t hek i nd t ha t b r i ng s p ro f i t ; t h i s i s no t t he ‘su r p l u s va l ue’ o f

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cap i t a l i s t exc hange . I t i s , ra t he r, t ha t wh i c h e scapes t hecon t rac t o f exchange. In rea l i ty our re la t ions are so muchde f i ned by exc hange , so com p le t e l y ra t i ona l i s ed , t ha tmaybe t h i s i s no t even pos s i b l e .

I t i s t he l i t t l e b ranc h Dan te p luc ked and dropped in f ear,and l e f t beh i nd , l i ke a t race .

No t qu i t e ou t o f t he woods ye t

L i t t l e Red : ‘Why, Grandmo t he r wha t b ig eyes you have !’Wol f : ‘Yes , my dea r, a l l t he be t t e r t o s ee you w i t h’

Wr i t t en i n pa r t s by Be t t i na Ma l comes s

Re f e rence s

A l i gh i e r h i , Dan t e . The D i v i ne Comedy : Can t i ca 1 - He l l( L’ In f e r no ) . Tran s la t ed by Doro t hy L . Saye r s . Pengu i n :B r i t a i n , 1949 .

Benjamin, Wal ter. [N 1, 4] [On t he Theor y of Knowledge,Theo r y o f P rog re s s ] . I n The A rcades P ro j e c t . P repa redon t he bas i s o f t he Ger man Vo lume Ed i t ed by Ro l fT i edemann . Tran s la t ed by Howard E i l and and Kev i nMcLaugh l i n . Ha r va rd Un i ve r s i t y P re s s : Cambr idge ,Mas sec hu se t t s , 1999 .

Marx, Kar l . ‘The Fe t i sh i sm of Commodi t ies and t he Secre tThe reo f’. I n Cap i t a l : A C r i t i ca l Ana l y s i s o f Cap i t a l i s tProduc t ion, Vol 1 . Ed i ted by Freder ic k Enge ls . Trans la tedby Samue l Moore and Edward Ave l i ng . (pub l i s he r ? ) :London , 1938

Wi l l iams , He len Mar ia . Le t t e r s Wr i t t en in France (1790) .I n The Sub l ime , a reader i n B r i t i s h e igh t een t h - cen t u r yaes t he t i c t heo r y . Ed i t ed by Andrew Ash f i e l d and Pe t e rde Bo l la . Cambr idge Un iver s i ty P ress : Cambr idge, 1996.

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F ree Car pen t r y

A m inha e s t ad ia em Cape Town t em como base are s idênc ia no es t úd io 2666 em Commerc ia l S t ree t . Comnada organizado antes da chegada, apar te de t rês noi tesnuma hos t e l em Long S t ree t , r e cebo o conv i t e i n f o r ma lde Ed Young pa ra v i r re s i d i r no e s t úd io . É a s s im que omeu t empo em Cape Town pas sa de 3 d ia s a 3 semanas( t a l vez 4 ) .

O e s t úd io e s t á em con s t an t e ac t i v i dade . Pe lo menos 5a r t i s t a s t raba lham aqu i regu la r men t e apesa r da sd i f i c u ldades f i nace i ra s a que e s t ão con s t an t emen t esubme t idos . Do i s des se s a r t i s t a s s ão Chr i s t i an Ner f andDoug G imberg , que há ce rca de 10 d ia s me conv idarampara e s c reve r um t ex t o pa ra a pub l i cação Carpen t r y101 . Como moeda de t roca pe la re s i dênc ia , e apesa rde não e s t a r em Cape Town em t raba lho , dec id i d i ze rque s im .

O t óp i co i n t e re s sa -me . When a re two b i t s o f wood ac ro s s ? Não se i , pa rece -me se r uma que s t ão decon f i gu ração . When i s a c ro s s a re l i g i ou s s i gn? Ma i suma vez uma que s t ão de con f i gu ração e ne s t e ca so decompr imen to de braços . Parece -me a mim t ha t Carpent r y101 i s a s how abou t wood , hence t he que s t i on l ead ingto t he t i t l e : Why ca rpen t r y and no t masonr y? I t h i nk weshou ld F ree Car pen t r y.

Dec id imos encon t ra r - no s no t e l hado do e s t úd io numaSegunda -Fe i ra de manhã , num spo t onde o so l ba te coma lguma i n t en s i dade . Eu , o Ch r i s t i an , Doug e Anon t hedog . Du ran t e uma ho ra f a lamos sob re re l i g i ão , a r t e ,po l í t i ca , eco log ia , b l i nd be l i e f s , a i g re ja ca t ó l i ca comoem pre sa de suce s so e t c .

Bu t aga in when i s t he c ro s s a re l i g i ou s s i gn? E quando

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Às vezes ponho-me a pensar na re lação ent re os mater ias(e o s p roce s so s que t ran f o r mam ma t e r ia i s em ob jec t o s )e a idea de l i nguagem. Será possíve l t ranspor ta r a lgunsde s t e s p roce s so s ( como t o r nea r, f u ra r, s e r ra r, co la r )pa ra a l i nguagem ve rba l e s c r i t a , re su l t ando em a lgoseme lhan te a poes ia conc re ta? D igo i s t o não a t ravés dedesenhos mas a t ra vé s do u so da pa la v ra . Como e quese se r ra um s i gn i f i can t e , e s e t o r ne ia um pa rág ra f o?

Carpen t r y 101 parece -me t e r a ver com mater ia i s , e comuma d i s t anc ia concep tua l en t re a c r uz e a re l i g i ão , quese man i f e s t a apa ren t emen t e im pos s íve l . No e spaço daexpos i ç ão o v i s i t an t e encon t ra r á um wor kbenc h e umse r ro t e e s e a s s im qu i s e r pode rá se r ra r o s b raços deuma e s t r u t u ra de made i ra seme lhan t e a uma c r uz . Th i ss ymbo l i c ac t man i f e s t s a d i s t anc i ng f rom t he c ro s s i nre la t i on t o re l i g i on and a d r i f t t oward s t he c ro s s a swood and ma t e r i a l . I t i s abou t que s t i on i ng t he re la t i onbe tween t h i s anc ien t ' l ogo ' and t he idea o f power, b l i ndf a i t h and au t ho r i t y. Th i s i s a r t a t i t s be s t , becau se i tdoes no t emphas i ze some t h i ng t ha t you mere l y l ook a t .I t f o r ce s one t o t h i n k and t o que s t i on , t h rough t hea r t i c u la t i on o f v i s ua l p rops t ha t can be seen a s a r tbecause t hey a re con t ex t ua l i s ed i n a ga l l e r y. Howeve ri t i s t he t h i n k i ng , que s t i on i ng , p rob lema t i s i ng t ha tma t t e r s . As f o r t he mere a r t f o r look ing a t , i t i s s t a r t i ngt o ro t away i n t he vau l t s o f t he t rad i t i ona l museums .

When I a s ked Ch r i s t i an and Doug wha t ma t e r i a l s we ret he i r i do l s made o f t hey sa id : 'No i do l s ' and ' f l e sh andbone ' re spec t i ve l y. Wha t ma t e r ia l s a re you r i do l s madeo f? Le t’s see i f you have t he c hu tzpah - g rab a saw anddo wha t eve r you have t o do .

D r. Nuno Sac ramen toShadow Cu ra to r

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é que a des t r u i ção de um pedaço de made i ra passa a se ra des t r u i ção de uma c r uz? A ques t ão parece -me se r g i ra ra vo l t a de um p roces so de endoc r i nação a t ravé s do qua la c r uz é a s soc iada a re l i g i ão . Se r á en t ão pos s i ve ld i s soc iar a idea de cruz da idea de re l ig ião? I s i t poss ib let o d i s soc ia t e t he i dea o f c ro s s f rom t he i dea o f re l i g i onb r i ng i ng i t bac k t o i t s ba s i c s a s two b i t s o f wood? Nãocre io se r poss i ve l an iqu i la r o símbolo c ruz , e também nãose r á i s t o que Ch r i s t i an and Doug t en t am f aze r emCarpen t r y 101 . An t e s , pa rece -me que re r que s t i ona r af o r ma como a s pe s soas a s sumem de f o r ma i r re f u t á ve l al i gação da c r uz à re l i g i ão . The p r ime connec t i on he reseems t o me t o be t he re la t i on be tween t he c ro s s andwood ( t he ma t e r i a l ) ra t he r t han t he c ro s s and re l i g i on( t he f a i t h ) .

'O ma t e r i a l t em sem pre razão ' d i z i a o ca r p i n t e i ro .Pe rgun t e i ao Doug e ao Ch r i s t i an se ex i s t e a lgumaexpressão em ing lês que t raduza i s to e e les d izem-me quenão. Os mater ia i s t êm carac terís t i cas fís i cas e concep tua i sque podem ser usadas de forma re tór ica. As caracterís t icasfís icas não podem ser ignoradas e ten tar ser rar uma tábuaatravés de um dos nós resu l ta invar iavelmente em desas t re.No que d i z re spe i t o à s ca rac t e r í s t i ca s concep tua i s do sma t e r i a i s a que s t ão com p l i ca - s e , mas pa rece -me que umdos ma io re s l egados da a r t e mode r na e con t em porâneaprende - s e com e s t a s que s t õe s . A t rang re s s ão da t i n t a edo supo r t e de sde o Im pre s s i on i smo ab re a s po r t a s pa raum ca t á l ogo de a t i t ude s que o l ha pa ra a soc i edade def o r ma d i f e ren t e , t razendo a que s t ão do ma t e r i a l ( domed ia ) pa ra o cen t ro do d i s cu r so . Ta l vez ha ja aqu i umpara l e lo en t re a que s t ão da c r uz , da made i ra e dare l i g i ão . Se r ia t a l vez i n t e re s san t e e s c reve r um ca t á logosobre as carac terís t i cas fís icas e concep tua is dos mater ia i sre co r rendo a exem p lo s a r t í s t i co s . Se r i a um l i v ro dee s cu l t u ra na f o r ma de ca t á l ogo de ma t e r i a i s , de s t i t u ídode f o r ma l i smo no sen t i do e s t r i t o .

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http://en.wikipedia.org/wiki/Helter_Skelter_%28Manson_scenario%29

http://en.wikipedia.org/wiki/The_Grey_Album

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Don’t be a f ra id , i t’s on l y f i c t i on

F r i day, 13 Ju l y 2007

I am s i c k a s He l l . F l u . I am supposed t o do t he open ingspeech for Chr i s t ian Ner f and Doug Gimberg’s Hel l Yeahshow. I t h i nk o f cance l l i ng and s t ay ing i n bed . I dec ideaga in s t i t . I go t o t he show d re s sed i n a s k impy Dev i l’sou t f i t . I de l i ve r a g roundbreak i ng speec h . Soon a f t e r If ee l t he need t o c l imb i n t o bed . I ge t d ropped a t homeby Robe r t S loon’s g i r l f r i end . J u l i a C la r k , a Cape Townar t i s t - ex -g i r l f r i end i s i n t he ca r. I ge t o f f a t home . Ju l i ai n s i s t s on speak i ng t o S loon’s g i r l f r i end i n t he ca r f o rano t he r hou r o r so , abou t me . I go t o s l eep i n my bedwi t h young Frenc h a r t i s t , A lex , who I had taken i n a f t e rbe i ng k i c ked ou t o f he r re s i dence by t he p rom inen tyoung Sou t h A f r i can f i lmmake r, E lan Gamake r.

9 :00pm: A lex and I am f a s t a s l eep .

9 :30pm: I ge t woken up by Ju l ia in s i s t i ng t ha t she needst o speak t o me . I open t he doo r and t e l l J u l i a t ha t s hei s wak i ng up my who le b loc k and t o keep i t down . Andt ha t I am s i c k and I need t o s l eep . Ju l i a says she needst o speak t o me . I say : ‘Speak t o me .’

Ju l i a : ‘ I need t o speak t o you’.

EY: ‘ I know. Speak t o me’.

Ju l i a : ‘Bu t I need t o speak t o you’.

EY: ‘ I know f o r f u c k sake . Bu t I am s l eep i ng and youare no t say ing any t h ing and I am s i c k . Why do you t h inkI am i n bed by 10 :00pm on a F r i day.’

42

Ju l i a : ‘ I know bu t I need t o speak t o you .’

EY: ‘For f u c k sake . You a re wak i ng up A lex . I t’s ve r yr ude . Le t’s go somewhere e l s e .’

[ I ge t ou t o f bed , pu t on some c lo t he s and we head f o rt he K imbe r l ey Ho t e l - s ea t a t t he ba r ]

Ju l i a : ‘ I need t o speak t o you’.

EY: ‘ I know. Speak t o me’.

Ju l i a : ‘ I can’t speak t o you he re . A l l you’re f r i end s a rehe re . Can’t we go somewhere qu i e t .’

EY: ‘ I t’s a F r i day n igh t . Where a re you go i ng t o f i ndsomewhere qu i e t ? My f r i end s a ren’t l i s t en i ng i n . Speakto me .’

Ju l i a : ‘ I need t o speak t o you .’

EY: ‘ I know.’

[15m in s l a t e r ]

J u l i a : ‘ I need t o speak t o you .’

EY: ‘ I know. You men t i oned t ha t .’

[ I n t e r r up t ed by a V io la p laye r l ady he rea f t e r J eane t t e ]

Jeane t t e : ‘Foxy Roxy i s pou r i ng sho t s f o r u s up s t a i r s .’

EY: ‘Ju l i a , I’m j u s t popp ing up s t a i r s f o r a qu i c k s ho t o fJage r me i s t e r. Be down i n a sec .’

Ju l i a : ‘ I need t o speak t o you !’

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A par t o f me s t i l l l ove s he r, bu t I am due f o r a ha i r cu t .

J eane t t e and I c l imb t he c ranky s t a i r s t o t he up s t a i r sbar. The venue i s dark and abandoned. I t hank Jeane t t e .We hear c reaky f oo t s t eps coming up t he s t a i r s . We h idei n a da r k c l o se t . J u l i a f i necombs t he p lace bu t f a i l s t oc hec k t he c l ean ing c lo se t . I peak t h rough a c rac k i n t hedoor on l y t o f i nd Ju l i a s cou t i ng even t he t o i l e t s . Shel eave s .

The coas t i s c lear and we head down for a dr ink . I knockbac k a coup le o f ZAR10 doub le b randy and coke s . Iexcu se myse l f a s I have t he b lac k l ung and need t o ge ti n t o bed . My f r i end s say bye and I head bac k t o myapar tmen t . A lex i s f as t as leep . I s t r ip down and preparef o r a peace fu l s l umber and a good f l u swea t .

03 :30am: [A bang on t he doo r ]

Ju l i a : ‘Le t me i n . I need t o speak t o you .’

I pu l l t he duve t over my head in t he hope t ha t i f I ignorei t , i t w i l l go away.

[10m in s pa s s ]

I t doe sn’t . I open t he doo r and exp la i n t ha t t h i s i sac t ua l l y r i d i cu lou s and se r i ou s l y bad t im i ng . Bu t I l e the r i n because o f no i s e po l l u t i on .

J u l i a : ‘ I need t o speak t o you .’

EY: ‘ I know, bu t keep i t down , A lex i s s l eep ing . Wha t’sup .’

Ju l i a : ‘You don’t unde r s t and .’

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EY: ‘ I know. You haven’t t o ld me .’

Ju l i a : ‘Bu t , you don’t unde r s t and .’

[more t ea r s ]

EY: ‘OK. Te l l me .’

Ju l i a : ‘Bu t you don ' t …’

…and f i na l l y some t h i ng abou t ex -boy f r i ends and I s t a r tt o do se o f f . A l ex awakes and obv iou s l y a b i t g r um pys t a r t s s hou t i ng a t J u l i a , exp la i n i ng t ha t t h i s i s no t coo land she i s t r y i ng t o ge t some s l eep and t ha t I am s i c k . Ipu l l t he duve t ove r my head . J u l i a s t a r t s i n su l t i ng A lex .I ge t up and t e l l J u l i a t ha t t h i s i s no t on and t ha t s hecanno t come i n t o my house and wake up ne ighbour s andi n su l t A l ex , who i s a gue s t , and keep me f rom my f l u -add led s l umber. There i s a reason I wen t home ear l y andi t i s now 04 :00am. I a s k J u l i a t o l eave .

[ t ea r s ]

J u l i a : ‘Bu t , you don’t unde r s t and .’

EY: ‘Yes I don’t . Go away.’

Ju l i a : ‘Bu t… '85

EY: ‘ I don’t ca re . Fuc k o f f .’

[ t ea r s ]

EY: ‘Go home .’

[ t ea r s ]

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EY: ‘ I am ca l l i ng secu r i t y.’

Ju l i a : ‘Don’t .’

[ t ea r s ]

EY: ‘ I am ca l l i ng secu r i t y. I’m s i c k . Go home .’

More t ea r s f o l l ow a t t he edge o f t he bed and I go t os l eep . 30 m inu t e s pa s s and I keep t he b lanky ove r myhead . J u l i a goes and spends t he nex t 15 m inu t e s i n t heba t h room.

05 :00am: My buzze r r i ng s . I t’s secu r i t y ( t hank god ) .They a sk i f J eane t t e can come up . I say ok . I open t hedoor and Jeane t t e say s t ha t s he i s d r unk and t ha t s hecan’t d r i ve and needs t o c ra sh i n my 32 me t re squa reapar tmen t and hope t ha t I don’t m ind . J eane t t e i n s i s t son open ing a f i ne bo t t l e o f Hau te Cabr ie re ChardonnayP i no t No i r, 2006 . She t ake s a s i p and pas se s ou t nex tto me. Ju l ia ex i s t s t he bathroom, takes a look a t Jeane t teand t h rea t en s t o l eave . She l eave s .

The Hau t e Cabr i e re goes t o was t e . I f a l l a s l eep i n t hemidge t s ized doub le bed be tween Jeane t t e and t he ar t i s tknown a s A lex , bo t h pas sed ou t . I can ha rd l y move ,w igg le .

Jeane t t e s t a r t s t o snore loud ly i n my ear. I ge t i r r i t a t ed .I t r y t o move . I pu t my hand be s ide me . I t i s we t . I pu tmy hand on Jeane t t e’s c ro t c h . I t i s a l so we t . I sme l l myhand – u r i ne .

06:00am: I ge t ou t o f my bed and pu l l t he “No Prob lem”s leep ing bag f rom benea t h my bed . I s l eep on f l oo r. Iwake up a lone i n my apar tmen t even more s i c k .

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Q: Wha t ha s t h i s go t t o do w i t h a r t ?A : Eve r y t h i ng .

Ed Young

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Anarc hy f o r P rac t i c eThe New Yo r k S t ree t A r t s cene

Today, t he a r t s cene i n New Yor k C i t y i s p redom inan t l yv iewed as any t h ing bu t rad ica l . Ar t i s t s and ga l le r ie s arecons t an t l y hav i ng t o ba t t l e aga in s t boom ing rea l e s t a t eva l ue s , f o rc i ng t he a r t mar ke t t o bow down be f o re t hecon se r va t i ve and wea l t hy who a re rap id l y popu la t i ngt he u rban f ramework o f New York C i ty. Wi t h in a con tex twhe re commerc ia l i za t i on d i c t a t e s wha t i s a c cep tab leand v iab l e t o be shown , t he s t ree t o f f e r s a re f uge f o rt ho se a r t i s t s who re f u se t o s ubm i t t o t he power o f t het imes . I t i s on t he s t ree t t ha t a r t i s t s can make t he i r mar kwi t hout needing to p lease t he expecta t ions of t he marke t ,and t he s t ree t a l so p rov ide s a p la t f o r m t ha t i s open t oa l l who a re p repa red t o t ake t he r i s k o f p ro secu t i on .

The New Yor k a r t mar ke t has , howeve r, been t u r n i ng t ot he s t ree t a r t s cene i n an a t t em p t t o rev i ve i t s po s i t i onw i t h i n t he con t em pora r y mar ke t s’ need t o con s t an t l yp rov ide t he ‘New’. Ga l l e r i e s s eek ou t a r t i s t s who havemanaged t o b reak t h rough t he c l u t t e r and c rea t e ad i s t i n c t i ve repu t a t i on / name f o r t hemse l ve s . Even rea les ta te brokers have embraced cer ta in face t s o f t he sceneand c la im a ra i sed va lue t o p roper ty t ha t has repu tab leS t ree t A r t i s t wo r k on i t .

T he i n c rea s i ng p ro f i l e and comod i f i ca t i on o f S t ree t A r thas caused a huge d iv ide wi t h in t he communi ty o f ar t i s t s .I n l a t e 2006 , a reac t i on emerged when ‘someone’ wen ta round vanda l i z i ng t he wor k o f p rom inen t s t ree t a r t i s t sby t h row ing pa in t a t t he i r wor k . The ac t ion caused suc ha s t i r t ha t even t he New Yo r k T imes repo r t ed on t hemys te r ious ‘Sp lasher’, as he or she was t i t l ed . I t i s c leart ha t t he mo t i va t i on beh i nd t he sp la she r’sac t s t em f romt he des i re t o sabo tage and r u i n t he wor k o f we l l known

5352

ar t i s t s , who have ga i ned a ce r t a i n amoun t o f no to r i e t y.The t a rge t s o f t he pa i n t a t t a c k s have i n c l uded pos t e r s ,paper cu t - ou t s pas t ed on wa l l s , and images s t enc i l l ed ont he s i de s o f bu i l d i ng s . Many o f t he pa i n t sp la t t e r s we reaccompanied by a mani fes to, pr in ted on p la in whi te shee tso f pape r and pas t ed nea r t he sp la t t e r s , i n wh i c h t hea r t i s t s exp re s sed t he i r d i sg r un t l ed v i ew o f t hecommod i f i ca t i on o f S t ree t A r t .

W i t h a l l t he a t t en t i on and p re s s cove rage t he Sp la she rrece i ved , i t on l y makes sen se t ha t he / s he wou ld t r y t ot ake t h i ng s t o ano t he r l eve l , no t on l y by r u i n i ng t hear twor k on t he s t ree t , bu t by ge t t i ng even more a t t en t ionf o r r u i n i ng t he i r ga l l e r y s hows a s we l l . I n J une 2007 i twas repo r t ed t ha t an i nd i v i dua l wa l ked i n t o t he Fa i l eshow open i ng i n No l i t a and l i t a s t i n k / smoke bomb .Then , i t was s u spec t ed , t he same i nd i v i dua l who l i t t hes t i nk bomb proceeded to ca l l t he po l i ce and i n f o rm t hemt ha t t he re was a gas l eak i n t he bu i l d i ng .

A s im i l a r s t un t was a t t emp ted a coup le o f weeks l a t e r a tt he open i ng o f Shepard Fa i rey ' s s how, when twoind iv idua l s were spo t t ed a t t emp t ing to l igh t a home -mades t i n k and smoke bomb t ha t was h idden i n a co f f ee can .As t hey we re se t t i ng i t o f f , two guy s nea rby saw wha twas happen ing and managed to s top t he ind iv idua l s f romign i t i ng i t be f o re i t wen t o f f . On l y one o f t he s u spec t swas app rehended and c ha rged w i t h re c k l e s sendange r men t and a t t emp t ed a r son , wh i c h ca r r i e s up t o15 yea r s i n p r i son a s a pena l t y.

The re levance of t h i s topic , in t he context of what Gimbergand Ner f are a t tempt ing to produce wi t h ‘Carpent r y 101’,is l inked to a real izat ion t hat one can draw some s imi lar i tyw i t h rega rd t o a b roade r i dea o f t he a r t i s t s’ approac hand p rac t i c e : The i n f e rence o f t he a r twor k and p rac t i c ea s t ha t o f a weapon , ca re f u l l y c ra f t ed and de s igned t o

e l im i na t e , o r wound , a spec i f i c t a rge t . One mus t beaware o f t he que s t i on : a t wha t po i n t doe s t he ana rc hyo f p rac t i c e c ro s s a boundar y and become a phy s i ca ldange r t o ou r soc i e t y o r ou r aud ience s?

…Or do t he ove ra rc h i ng de l u s i on s o f ou r t ime s requ i rea h igh l y t a rge t ed a t t ac k be fo re we a re ab le t o examinet he f ounda t i on s on wh i c h t hey a re bu i l t .

Johan K r i t z i nge r

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We are a l l unde r s u sp i c i on

“No, t hese are ar tworks”, I rep ly. The group of Amer icanai rpor t o f f i c ia l s are scep t i ca l and one po in t s a t t he larges ign and say s , “Why a re you t ak i ng t he se gun s i n you rhand luggage?” I expla in t ha t I cou ld no t r i sk t hem be ingdamaged . I o f f e r t hem web l i n k s t o con f i r m t ha t t heya re o r i g i na l a r twor k s by Ryan Hum phrey s . My t ra ve lcom pan ion , Ed Young , ha s a l ready pas sed t h roughsecur i ty and i s look ing uneasy. There i s fu r t her mut te r ingand consu l t i ng w i t h even more o f f i c ia l - l ook ing o f f i c ia l s .The p la i n - c l o t hed one t u r n s t o me and , a f t e r a momen to f comfor tab le s i lence he waves h i s hand and says , “Jus tgo .”

We land i n Duba i and head t owards cu s t oms . My handluggage pas se s t h rough t he x - ray mac h i ne and t heope ra to r’s exp re s s i on c hanges . Pe r haps he p re s se s ah idden pan i c bu t t on because , once aga in , t he re i s abunc h o f o f f i c i a l s and Ed i s l ook i ng uncomf o r t ab l e . Aguy s t ra igh t ou t o f T i n t i n g rabs my bags and i nd i ca t e st ha t I s hou ld f o l l ow h im .

I’m s i t t i ng i n an i n t e r roga t i on room w i t h a w indowthrough to ano t her sma l l room. There i s a smugg le r nex tdoor who f a in t s f o r t he second t ime in an hour. “We arewa i t i ng f o r a re sponse f rom JFK ,” says an o f f i c ia l a s hepicks up one of t he works in ques t ion and leaves. Anotherun i f o rmed o f f i c ia l wa lk s i n w i t h t oy guns and says , “Wehave con f i s ca t ed a l l o f t he se t h i s week .” He se lec t s oneo f Hum phrey s’s wor k s and wa l k s ou t i n t o t he t e r m ina l .

I have been i n t he room f o r a f ew hou r s and repea t mys t o r y seve ra l t ime s : “Yes , t he se a re a r twor k s”. “No,t he se a re no t t oy s .” The b ig guy summons me t o t he

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o t he r room. I t s eems t ha t t hey smoke a s muc h a s I do ;t he re i s a g roup o f t he se guy s and a s we a l l pu f f awayt hey p lay good o f f i c i a l / bad o f f i c i a l . I say, “ I t i s as c reen p r i n t on p l ywood”, and g i ve t hem a l i t t l e a r th i s t o r y l e c t u re . They show me more t oy s .

I am d i spa t c hed bac k t o ‘my’ room. Th rough t he w indowwe watc h eac h o t her and t hen t hey s ta r t coming t h rough ,one by one , g i v i ng bac k t he a r twor k s . And eac h onesm i l e s and shake s my hand . I am e s co r t ed t o t he p lanewhe re Ed i s wa i t i ng f o r me . He say s , “ I a lmos t boa rdedbu t I know Ka t h r yn wou ld have k i l l ed me i f I l e f t youbeh i nd .”

Chr i s t i an Ner f

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Dear S i r

A f ew week s ago I was handed , wh i l e wa l k i ng i n LongS t ree t , a bu s i ne s s ca rd f o r An ton La Vey’s Chu rc h o fSa t an . Need le s s t o say I was qu i t e conce r ned and myimmed ia t e reac t i on was t o d i spose o f i t . On c lo se ri n spec t i on t hough , I r ea l i zed t ha t t h i s ca rd was i n f a c tp romo t i ng an even t t i t l ed He l l Yeah . I was somewha tre l i eved by t h i s , bu t i n re t ro spec t pe r haps I s hou ld no thave been , f o r pe r haps t he im p l i ca t i on i s t ha t t he ev i l( f o r wan t o f a be t t e r word ) , wh i l e no t ove r t , was j u s tt ha t muc h more seduc t i ve .

I dec ided t o a t t end t he occa s ion t o sa t i s f y myse l f t ha tt here was no th ing for t he communi ty to be wor r ied about- i t was on t he t op f l oo r o f an o f f i c e b loc k i n t own ont he t h i r t een t h o f la s t mon t h . I t seemed l i ke a par ty, bu tI t h i n k i t was s upposed t o be an exh ib i t i on o f a r t - t het heme be i ng “he l l yeah”. The re was a f r i vo lou s imageo f a ho r ned head i n t he en t rance and a man wa l k i ngaround dressed a b i t l i ke a pros t i tu te , excep t w i t h horns . Apar t f rom t hose examp les t hough t he re d idn’t seem tobe any t h ing t o do w i t h Sa tan i sm o r even ev i l genera l l y ;i t s eemed a s t hough peop le we re j u s t hav i ng a goodt ime .

Subsequent ly I’ve fe l t ra ther uneasy about t he exper ienceand I s u spec t t ha t , wh i l e I had i n i t i a l l y d i sm i s sed t heeven t as be ing ra t her ins ign i f i can t , I now t h ink t ha t t hereare ce r ta in p rob lems ; p r imar y amongs t wh i c h i s t he f ac tt ha t I f e l t , f o r even a m inu t e , t ha t t h i s even t s eemedaccep tab le and rea sonab le . I t h i n k t h i s i s a goodre f l e c t i on o f how amb i va l en t peop le (myse l f i n c l uded )have become t owards t he i n f i l t ra t i on o f ev i l i n t o ou rgood Ch r i s t i an soc i e t y, and a l so how i n s i d iou s t ha ti n f i l t ra t i on i s . T he even t s eemed ha r m le s s (and evenreasonab le ) a t t he t ime hence one does no t nece s sa r i l y

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con s ide r t he mora l i t y o f t he se k i nd s o f t h i ng s - t hemo t i va t i on . Wha t cou ld s uc h a pa r t y po s s i b l y do t oim prove peop le’s l i ve s ? Su re l y i t wou ld on l y make t hemle s s s en s i t i ve t o t he l i ne s be tween good and bad? I amconce r ned t ha t once aga in t he i n s t i t u t i on s o f “reason”are weaken i ng t ho se o f f a i t h - m i s l ead ing good peop le .Ph rase s l i ke “bu t why no t ?” or “ t hey’re j u s t hav ing a b i to f f un” breed com p lacency.

I d id some re sea rc h on t he I n t e r ne t and I t h i n k t ha t t hepeop le who o rgan ized t h i s He l l Yeah a re hav ing ano t he r“exh ib i t i on”; I be l i eve i t i s ca l l ed Carpen t r y 101 , I dono t know wha t t he mean ing o f t h i s i s , bu t i t i s a t a p laceca l led B lank P ro jec t s and i t s t a r t s on t he e igh t h . I am no tgo i ng t o be com p lacen t any more .

I t h i n k t ha t we need t o do more t o l e t ou r l i gh t s h i ne sot ha t o t he r s can see rea l goodnes s .

You r s s i n ce re l y,

Ug Imbe rg

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Note s f o r l aunc h speec h

Mr Pres ident , in t he sp i r i t o f t he t imes I want to announcet he b reak i ng o f a decades - l ong dead loc k i n t he i n t en senego t i a t i on s be tween my mo t he r, w i t h he r i n s i s t en tre l i g i o s i t y, and myse l f , w i t h an equa l l y i n s i s t en tGodlessness . She a lways ins i s t s t ha t God i s look ing a f te rme , wh i c h I a lways deny w i t h g rea t v i gou r. We havenow rep laced t he u se le s s o ld dead loc k -mak ing ques t i on(“God o r no t -God?”) w i t h a new and w inn i ng f o r mu la :God p l u s Bhek i Khuma lo . Tha t i s wha t keeps u s sa f e .Thank you Bhek i .

D i s t i ngu i s hed Gues t s ,

Ms . E r i ca W i l l i ams -Conne l l ,

Koke t so , T i ego and D i kgang Moseneke ,

Lad ie s and Gen t l emen ,

The A f r i can Amer i can ph i l o sophe r, Co r ne l Wes t , say st ha t P re s i den t Mande la i s “ t he j azzman o f t he f reedoms t r ugg le .” Wes t exp la i ned t h i s s eem ing l y s t rangecommen t : “Wha t i s j azz a l l abou t ? I t i s abou t f i nd i ngyour vo ice . . . I t i s abou t mus ter ing t he courage to t h inkc r i t i ca l l y” and “to go aga in s t t he g ra in .” In t ha t sen se ,P re s i den t Mbek i i s a j azzman a s we l l and I wou ld l i keto hope t ha t maybe t h i s book i s a jazzy l i t t l e r i f f . Go ingw i t h t he g ra i n i n t he p re sen t med ia c l ima t e meansa t t a c k i ng P re s i den t Mbek i and t hen de s c r i b i ng suc ha t t ac k s a s “courageous” and “ independen t” even wh i l et he med ia rewards you f o r t h i s and pun i she s t he ANC’sdefenders . So in t ha t sense t h i s book goes f i rm ly aga ins tt he g ra i n . I t speak s t r u t h t o med ia power. I t heeds t hela t e Su san Son t ag who i n s i s t ed t ha t “se r iou s wr i t e r s ,

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c rea to r s o f l i t e ra t u re , s hou ldn’t j u s t exp re s s t hemse l ve sd i f f e ren t l y f rom t he hegemon i c d i s cou r se o f t he mas smed ia . They shou ld be [ac t i ve l y ] i n oppos i t i on t o t hecommuna l d rone o f t he newscas t and t he t a l k s how.”*Wha teve r e l s e m igh t be sa id , f ew wou ld accu se me , Ihope , o f go i ng a long w i t h t he communa l d rone o f t hemed ia .

So maybe i t makes sense t ha t when I me t P res iden t ThaboMbek i f o r t he f i r s t t ime i n 1995 , i t was aga in s t abac kg round o f j azz a t t he end o f t he Wor ld Econom i cFor um in Mid rand . I f you knew t he o ld Mannenberg jazzc l ub i n down town Cape Town , you wou ld a l so know t ha tt he t hen Trade and Indus t r y Min i s t e r, Trevor Manue l , wasa lmos t a week l y f i x t u re t he re—and no t a f i xed f i x t u re ,bu t gene ra l l y a w i l d l y gy ra t i ng f i x t u re . I t w i l l t he re f o reno t su rpr i se when I say t ha t Trevor Manue l t hen dec ided ,a t t he end o f t he M id rand j azz , t ha t h i s gy ra t i on s we reon ly beg inn ing, so t ha t in f ac t t here had to be much morejazz . He pu t t h i s p roposa l f o r ma l l y t o t he P re s i den t ; i twas du l y accep t ed , and o f f we wen t .

A l oo se convoy, an im prom p tu coa l i t i on o f Cab ine tMin i s t e r s , labour l eader s , i nves tmen t banker s , jou rna l i s t sand o t he r s s e t o f f f o r Ba s s L i ne , wh i c h was t hen l o ca t edi n Me l v i l l e . B rad Ho lmes , owne r o f t he Bas s L i ne , neve rf o rgo t t ha t n igh t . He l a t e r t o ld me t ha t , a s he hea rd t hes i ren s approac h , he pan i c ked . B rad was qu i t e conv incedt ha t t he po l i ce we re a t l ong l a s t com ing t o c hec k h i sl iquor l i cence and, o f course , he had none. He was abou tt o be c l o sed down .

Bu t t hen h i s anx i e t y gave way t o awes t r u c k d i sbe l i e f a st he Depu ty P res iden t o f t he coun t r y s t epped in to t he jo in tand sa t on a ba r - s t oo l a t t he , f rank l y, wobb l y woodenround table Brad had ben meaning to f ix . Deputy Pres identMbek i sa t j u s t i n s ide t he w indow to t he r igh t o f t he door,

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v i s i b l e f rom t he s t ree t . The t hen Depu ty M in i s t e r o fF i nance , A lec E r w in , sa t on h i s r i gh t and t he re was aCNN news - read ing ce l eb r i t y on h i s l e f t , wh i l e I was t ot he le f t o f her. The ub iqu i tous London inves tmen t banker,Mar t i n K i ngs t on , i nev i t ab l y hove red , a s en t e r p r i s i ng a seve r, nea rby. T i t o Mbowen i , who was t hen t he Labou rMin i s t e r, danced i n t he s t ree t , ma in t a i n i ng wha t Iimag ined was a wa t c h f u l l ookou t , t o s ee whe t he r SamSh i l owa , t hen a COSATU f i r eb rand , had f o l l owed t hec rowd f rom Mid rand . Trevo r Manue l was , o f cou r se ,danc i ng i n t he deep , da r k i n t e r i o r o f t he p lace . Manyo t he r s we re t he re . I do no t know f o r s u re , bu t I havea lways imag ined t ha t B rad c l eaned up h i s ac t p romp t l ya f t e r t ha t and wen t and go t h i s l i q uo r l i c en se .

The se r i ou s po i n t o f t h i s j azzy anecdo t e i s , o f cou r se ,t ha t t he ANC has a lways been , i n Nad ine Gord ime r’swords , “happy f o r ba t t l e .” A lways ba t t l i ng bu t a l soalways happy and never bel iev ing that happiness requiresa su spens ion o f ba t t l e . And ye t , when i t comes to ThaboMbek i , we a l l t oo o f t en c hoose to hear on ly t he “bat t le”par t and no t t he “happy” par t . Peop le seem t o wan tE I THER happy OR ba t t l e , wh i l e t h i s P re s i den t q u i t eco r rec t l y wan t s bo t h .

I wro te much o f t h i s book in Cape Town a t a happy LongS t ree t co f f ee shop ca l l ed Rca f f e . I t i s a c ro s s t he s t ree tf rom t he o f f i c e s o f t he Wes t e r n Cape p rov i n c ia lgove r nmen t . The p lace i s owned by a young coup le ,Sharon Sega l l and her husband Ju l ian . Sharon i s I s rae l i .She se r ved i n t he a r my. She t ake s a pa i n f u l l y hawk i shp ro - I s rae l l i ne . J u l i an on t he o t he r hand , r i va l s Ronn i eKas r i l s f o r humane p ro - Pa l e s t i n i an so l i da r i t y. J u s t t heo t her day Ju l ian showed me a Jerusa lem Pos t newspaperc l i pp i ng w i t h t he w ide l y i gno red s t o r y t ha t t he f amoush i jac k ing o f t he E l - A l p lane to En tebbe in t he mid -1970’swas , acco rd i ng t o re cen t l y re l ea sed B r i t i s h i n t e l l i gence

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agency documen t s , i n f a c t an I s rae l i I n t e l l i genceconsp i racy. The who le t h i ng was i n t ended t o d i s c red i tPa les t in ian na t iona l i sm. The ownersh ip o f t h i s co f f ee shopi s , you rea l ize , po l i t i ca l l y d iver se . I t i s a jazzy mar r iage;pa r t o f i t s b l i s s i s i n go i ng aga in s t t he g ra i n .

Immedia te ly to t he le f t o f Rcaf fe on Long S t ree t , t he jazzyspectrum broadens, wi th a shop specia l iz ing in Pan Afr icanmus i c . On t he o t he r s i de o f Rca f f ee i s a mosque . Un l i ket he mosques a f ew b loc k s up t he h i l l i n Bo Kaap , whe ret he wor sh ippe r s a re p redom inan t l y Cape Ma lay, t h i spa r t i c u la r mosque ca r r i e s o f f a f a s c i na t i ng ba lance o fb lac k A f r i can mus l im imm ig ran t s a s we l l a s l o ca l s . Onmost days t he immigrants outnumber t he locals and nobodyseems pa r t i c u la r l y t h rea t ened .

Nex t t o t he mosque , a s Dorp S t ree t i n t e r sec t s w i t h Long ,i s a funera l par lour w i t h t he Eng l i sh Cape Co lon ia l name,“Gooda l l and Bou r ne”. The owne r i s o f Eng l i s h de s cen tand h i s w i f e i s J ew i sh . When t he mosque i s ove r f l ow ing ,she opens t he garage to a l low the b lack Afr ican immigrantMus l im worsh ippers to use i t a s an over f low zone in t he i rp raye r. And , nex t t o Gooda l l and Bou r ne , f i na l l y, youu sed t o have t he Dor p S t ree t o f f i c e o f t he Democ ra t i cA l l i ance . Bu t a la s , t hey c l o sed down unde r Tony Leonand have apparen t l y se t up shop e l sewhere . I don’t knowwhy.

Around Rcaf f e , where I wro te mos t o f t h i s book , t he c lasho f c i v i l i za t i on s i s i t s e l f f o re ign g round . The t e r ra i n o fLong S t ree t , w i t h i t s numerou s j azz j o i n t s , muc h l i ke t heo ld Bas s L i ne and t he o ld Mannenbu rg s , i s an exce l l en texam p le o f t he im prov i sa t i ona l b r i l l i ance o f t he j azzsen s ib i l i t y, l i ved ou t i n t he rea l wor ld . More t han t hesha l l ow mu l t i c u l t u ra l i sm t ha t Sa lman Ru shd ie d i sm i s sedas “ teac h i ng t he k id s t o bea t Bongo d r ums , how t o t i e asa r i and so f o r t h”. Here i n s t ead was c haos , con t e s t a t i on

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and commerce : a t h r i v i ng i nne r c i t y s t r ee t , emb lema t i co f Mande la and Mbek i’s Sou t h A f r i ca , a t peace w i t hi t s e l f and t he wor ld . And ye t i t i s f a r f rom pe r f e c t .Gugu le t u i s so f a r away. The re i s so muc h wor k s t i l l t odo . To i gno re t ha t i s t o c ro s s t he l i ne i n t o an ev i l t ime .

As Bhek i has so k ind l y sugges t ed , t h i s i s no t new to me .I n t he P re f ace t o h i s c l a s s i c wor k , The Loca t i on o fCul ture , Homi Bhaba, who has roo ts a t Sussex Univers i ty,a s does P re s i den t Mbek i , make s a g rea t ca se f o r at o l e ran t and i n t e rcu l t u ra l wor ld , beyond t he tw i n r i s k so f Eu rocen t r i sm and c r ude na t i v i sm . Quo t i ng Tr i n idad’smos t re cen t Nobe l Lau rea t e , VS Na ipau l , wh i l e a t t hesame t ime con t e s t i ng Na ipau l’s no to r i ou s pe s s im i sm ,Homi Bhaba wro te : “The Tr in idad ian i s a cosmopo l i t an .”

I f , a s Bhek i so k i nd l y con t ends , I am no s t range r he rei n Sou t h A f r i ca , i t i s because o f t he l i ved exper i ence i nTr i n idad and Tobago , whe re E r i c W i l l i ams was ou r ownbr i l l i an t Thabo Mbek i . As I de ta i l i n an append ix t o t hebook , W i l l i ams was—as t he ANC i s—a p roduc t o f , and apar t i c i pan t i n , t he c la sh o f t he con t end ing t rad i t i on s o fim pe r ia l i sm and re s i s t ance . I n 1946 Sa rah Ger t r udeMi l l in , t he i l l ibera l con f idan te and admirer o f Jan Smuts ,v i s i t ed Tr i n i dad on he r way f rom Cape Town t o NewYor k . Th i s was t he yea r o f Tr i n i dad’s f i r s t un i ve r sa lf ranc h i se ba l l o t . I t was a lmos t Tr i n idad’s ve r s ion o f t heSou t h A f r i can 1994 . He re i s how Mi l l i n de s c r i bed i t i nhe r au t ob iog raphy, Measu re o f My Days :

“We spen t a day i n Tr i n idad and had p lan t e r’s punc h i nt he p rope r p lace . We wa t c hed a c rocod i l e o f c h i l d ren ,o f whom on l y two were wh i t e . We wen t i n t o t he LawCour t whe re t he on l y wh i t e pe r son , excep t ou r se l ve s ,was t he J udge , bu t t he da r k - s k i nned coun se l d re s sed ,spoke and behaved exac t l y l i ke Eng l i s h coun se l . f r i end w i t h whom we s t ayed sa id he had t o be g ra t e fu l

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i f he was i nv i t ed t o t he hou se s o f two im por t an t da r k -s k i nned kn igh t s . . . I f e l t t he Eng l i s h we re on t he i r wayou t o f t ha t i s l and .”

Bu t does t h i s f o l low? Why mus t i t be t he case t ha t s imp lybecause b lac k s r i s e i n con f i dence , compe t ence and se l f -a s su rance , t he Eng l i sh mus t be “on t he i r way ou t”? Mi l l i nwas mak i ng t he ve r y same e r ro r t ha t f eeds so muc h o ft he f ea r -monge r i ng i n Mbek i’s Sou t h A f r i ca t oday. By1962 Mi l l i n ve r y p red i c t ab l y wro t e : “ I have pa i n ove rt he p ro -Naz i sm o f ou r p re sen t [apa r t he id ] gove r nmen t ,bu t I w i l l no t be dom ina t ed by a con t i nen t o f c r ue l ,d i s ea sed , sa vages .”

As you read F i t t o Govern , I hope you w i l l see how c loset o t he s u r f ace suc h a t t i t ude s rema in i n t he d i s cou r sesu r round ing Thabo Mbek i , a d i s cou r se a r t i c u la t ed by ano ld wh i t e med ia and i t s new na t i ve a s s i s t an t s a l i ke . I tseems t ha t one o f t he more provocat ive po in t s in t he booki s a l so one o f t he mos t obv iou s : ea r l y commen t s havereac t ed sha r p l y t o t he em phas i s I p lace upon t he f ac tt ha t we need t o move , a s a coun t r y, beyond t he rac i s ti dea t ha t b lac k s canno t be rac i s t . B l ac k s can i ndeed berac i s t—aga in s t wh i t e s and a l so aga in s t o t he r b lac k s ,i n c l ud i ng Thabo Mbek i . A f rank conve r sa t i on abou t t ha ti s s ue i s a v i t a l pa r t o f a vo id i ng wha t bo t h t he B ib l e andBhek i Khuma lo ca l l “an ev i l t ime .”

Those who t h i n k t ha t t he i r j ob i s t o con t ro l and shapepubl i c debate for our supposed benef i t , ough t to cons idert he exam p le o f Immanue l Kan t . Kan t was , and rema in s ,t he f o remos t Eu ropean ra t iona l i s t , a cen t ra l f i gu re i n t heEuropean En l igh tenmen t . The b lac ks known to Kan t i n t heeighteenth centur y were s laves, but in addi t ion to ens lavedNegroes , Kan t wan ted s i l en t ones . I n h i s adv i ce on s lavehu sbandr y, Kan t war ned s l a ve -owne r s t ha t “B lac k s a reso t a l ka t i ve t ha t t hey mus t be d r i ven apa r t f rom eac h

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o t he r w i t h t h ra sh i ng s”. Hence t he t h ra sh i ng s t ha t s eekto d r i ve u s apar t , whe t he r w i t h i n o r aga in s t t he A f r i canNa t iona l Cong re s s .

I n conc l u s i on , I s i ng l e ou t Mpho Makwana o f Edconbecause he ca lmly and qu ie t ly ensured t hat nobody couldt h rash t h i s book in to s i l ence , however long and howeverver y hard so ver y many have t r ied - and s t i l l t r y. I l i kewiset hank t he o t he r sponso r s , a l l o f whom equa l l y re f u sedto bow to assor ted t h rash ings . I t hank Koke t so and T iegoMoseneke for fund ing t he p lane t i c ke t t ha t brough t E r i caWi l l i ams , t he daugh te r o f E r i c W i l l i ams , he re t on igh t a smy own pe r sona l gue s t o f honou r. I t hank D i kgangMoseneke , Ch r i s t i ne Qun ta and John D lud l u f o r t he i rw i sdom conveyed by way o f adv ice and example . I t hankmy unc l e , E s sop Pahad , f o r h i s ra t he r re c k l e s s andunbend ing be l i e f i n t h i s book and a l so i n i t s au t ho r. It hank Va t h i swa Ma f ana , t he one who makes eve r y t h i ngwor k l i ke c l o c kwor k i n t he P re s i dency wh i l e o t he r s j u s tp re t end to do so , and Caro l i ne N ixon as we l l a s Gera ldAugus t ine , who are se l l ing t h i s book l i ke wi ld f i re . F ina l l ymy ra t he r f a sh ionab le f r i end , Ca t he r i ne Moore , whot rave l l ed up f rom Cape Town and had Arno Car s t en s onh i s way he re t on igh t , be f o re he was h i j a c ked t o SanSebas t i an i n Spa in , whe re he f l ew j u s t hou r s ago , t ope r f o r m a s t he open i ng ac t f o r an e so t e r i c g roup ingca l l ed t he Ro l l i ng S t one s . I am re l i ab l y i n f o r med t heya re no t a j azz band .

Fo r my mo t he r, who t on igh t rep re sen t s t he f am i l y f romwhom I have been so f a r away f o r so ve r y l ong , I o f f e rt he comf o r t s o f F ran t z Fanon : “Eac h gene ra t i on mus t ,ou t o f re la t i ve obscu r i t y, d i s cove r i t s m i s s i on , f u l f i l l i t ,o r be t ray i t” .

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Dur i ng my re sea rc h , I came ac ro s s a wr i t e r who hadded i ca t ed he r own book t o he r own pa ren t s w i t h t hefo l lowing words : “To my paren t s , who gave me bo t h roo t sand w ing s .” I w i sh I had t hough t o f t ha t myse l f . THANKYOU.

Thank you .

Rona ld Su re sh Robe r t sLaunch o f F i t To Govern : The Nat ive In te l l igence o f ThaboMbek i , P res iden t ia l Gues t House , P re tor ia , 22 June, 2007

(du ra t i on 10 m inu t e s ) .

* Su san Son t ag , A t t he Same T ime : E s say s & Speec he s(2007)

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L i t t l e Em p ty Boa t

You f ound me a t some pa r t yYou t hough t I ' d unde r s t andYou ba r re l ed ove r t o meWi t h a d r i n k i n eac h handI re spec t you r be l i e f s , g i r l ,And I con s ide r you a f r i end ,Bu t I ' ve a l ready been bo r n once ,I don ' t wanna t o be bo r n aga in .

You r know ledge i s im p re s s i veAnd you r a rgumen t i s goodBu t I am t he re su r rec t i on , babe ,And you ' re s t and i ng on my f oo t !

Bu t my l i t t l e boa t i s em p tyI t don ' t goAnd my oa r i s b rokenI t don ' t row, row, rowBu t my l i t t l e boa t i s em p tyI t don ' t goAnd my oa r i s b rokenI t don ' t row, row, row(Row! )

You r t i ny l i t t l e f a ceKeeps yapp ing i n t he g loomSeven s t ep s beh i nd meWi t h you r du s tpan and b room.I cou ldn ' t he lp bu t imag ine youA l l po s t u red and p roneBu t t he re ' s a l i t t l e guy on my shou lde rSays I s hou ld go home a lone .You keep l ean i ng i n on meAnd you ' re l ook i ng p re t t y p i s s ed

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Tha t g rave you ' ve dug be tween your l egsI s ha rd t o re s i s t .

Bu t my l i t t l e boa t i s em p tyI t don ' t goAnd my oa r i s b rokenI t don ' t row, row, rowBu t my l i t t l e boa t i s em p tyI t don ' t goAnd my oa r i s b rokenI t don ' t row, row, row

Give t o God wha t be longs t o GodAnd g i ve t he re s t t o meTe l l ou r g rac iou s ho s t t o f u c k h imse l fI t ' s t ime f o r u s t o l eave .

Bu t my l i t t l e boa t i s em p tyI t don ' t goAnd my oa r i s b rokenI t don ' t row, row, rowBu t my l i t t l e boa t i s em p tyI t don ' t goAnd my oa r i s b rokenI t don ' t row, row, rowRow. . . row. . . row. . . row. . .

N i c k C ave & The Bad Seeds